WHAT MAKES A MAN
Showing posts with label SWAN. Show all posts
Showing posts with label SWAN. Show all posts
Thursday, January 1, 2026
Sunday, October 19, 2025
The blanket
VETÓN
A MITAD DE CAMINO EN OTRO BOSQUE
The blanket, featured persistently across the Unstable Installation Series (2020–2024), operates not as an object but as a device of affect, circulation and performative presence. Stripped of its domestic singularity, it reappears across geographies—draped on chairs, hanging from walls, wrapped around bodies in winter landscapes or layered over furniture in modest interiors—accumulating narrative tension through repetition. This continuous activation resists aesthetic fixity, privileging gesture over monument, use over preservation. The blanket becomes a surface of interaction where time, bodies and context inscribe meaning, generating a fluid archive rooted in relational encounters and situated rituals. In each instance—Madrid theatre, Lagos gathering, mountain plateau or online meeting—the blanket adapts, yet remains formally constant, enabling continuity across volatile frames. It functions as a transitional object, triggering intimate responses, performing protection, disguise, familiarity. Its checked motif becomes a signature of presence, marking the intersection between body, action and site. The images suggest that the work is not the blanket itself, but the constellation of its uses and the affective relations it hosts. Rather than accumulating symbolic capital, the piece dissolves it into shared situations, rehearsals of tenderness, seasonal gestures and local acts of care. The project quietly challenges static notions of installation and authorship, proposing instead an ethics of artistic circulation grounded in vulnerability and everydayness. The blanket, in its modesty, becomes a vector for collective enunciation, a ritualised companion for ephemeral actions that fold into one another, forming a sustained polyphony of uses and disappearances.
Sunday, November 3, 2024
Thursday, April 4, 2024
V E T O N E S
Los vetones fueron el demónimo que los historiadores romanos emplearon sobre el conjunto de los pobladores prerromanos de cultura celta que habitaban un sector de la parte occidental de la península ibérica. Su asentamiento tuvo lugar entre los ríos Duero y Tajo, principalmente en el territorio de las actuales provincias españolas de Ávila, Salamanca y Cáceres. Un castro es un poblado fortificado propios de finales de la Edad del Bronce y de la Edad del Hierro. El castro es un poblado fortificado que se empezó a habitar desde el siglo VI A.C., carente de calles que formen ángulos rectos y llenos de construcciones de planta casi siempre circular. Se sitúan en lugares protegidos naturalmente. Las casas más antiguas eran de paja-barro, el techo era de ramaje y barro y después de varas largas. Fundamentalmente, eran estancias únicas. Uno de sus legados más características son los verracos de piedra. Su cultura se caracterizó por su carácter guerrero y ganadero. Construyeron asentamientos defensivos en zonas elevadas. Oppida Ulaca o Mesa Miranda.
The vetones were the demonym that Roman historians used on the set of pre-Roman settlers of Celtic culture that inhabited a sector of the western part of the Iberian Peninsula. Its settlement took place between the Duero and Tajo rivers, mainly in the territory of the current Spanish provinces of Ávila, Salamanca and Cáceres. A castro is a fortified town typical of the late Bronze Age and the Iron Age. The castro is a fortified town that began to be inhabited from the 6th century BC, lacking streets that form right angles and full of buildings almost always circular. They are located in naturally protected places. The oldest houses were made of straw-mud, the roof was made of branches and mud and after long poles. Fundamentally, they were unique stays. One of his most characteristic legacies are the stone boars. Its culture was characterized by its warrior and cattle character. They built defensive settlements on high ground. Oppida Ulaca or Mesa Miranda.
Monday, November 20, 2023
QUALITATSKONTROLLE III ::::::::::::::::::: FESTIVAL IBEROAMERICANO DE TEATRO DE CÁDIZ 2021 ::::::::::::::::: HIPERPLÁSTICA Y CONTEXTO RELACIONAL ::::::::::::::::: DISH
El equipo trabaja en las naves, preparando los ingredientes del plato de alta cocina que se servirá tibio. Este plato, no tiene guión previo ni narrativa. Cada agente implicado sabe su tarea, es un ingrediente. Se piden grandes sacos de sal gorda y mantas gruesas. Algunos vienen a trabajar en chándal, lo cómodo manda. La moda de las rayas laterales es visible. Se entonan palos flamencos complejos y se graba ambiente, se graba a los que saben la historia del lugar y se mapean los tiempos. Se ordenan entradas, salidas y espacios. Los técnicos ajustan cables, mangueras y focos. Se cuelgan banderolas que serán pantallas verticales, como en los desfiles de entreguerras. La nave es la escala. La escena será compacta, con un público robusto, en dos fichas de doscientas sillas móviles muy apretadas. El tren del tiempo exige cierto orden, compacidad, incomodidad. No lo verás todo. Las luces son mínimas y el sonido es claro, nítido. Hay eco. El contenido de la película incluye elementos recurrentes de lo próximo. Están los cuerpos presentes, el espacio colosal, la ciudad abigarrada y el mar. Se teje una hora en una semana. Lo cromático sensorial es la base. El amarillo de la boya coincide con el amarillo de la barra donde se baila en equilibrio olímpico. El azul del mar es el envoltorio de los sacos de sal. La espada es el negativo del negro. Los elementos del directo y de la película son los mismos. La pistola es negra, como el disfraz de los técnicos. La arena de la playa del tómbolo se engama con las espinas de la botánica local. El collage se ajusta para que la composición no vaya hacia la tautología, sino en su dirección opuesta. Allá donde vas, está pegado el cartel que lo anuncia. El festival FIT anima la ciudad. Cada día, el ajuste, la forma resultante, es un estreno, una repetición de movimientos que lleva a la forma final, que no es estable. Vibra. En cada acción, la salazón es ligeramente diferente, el ruido, el público, los cuerpos y los solapes matizan el elemento principal, el sabor.
60 MINUTES DOUBLE SCREEN INSTALLATION
3X2M HIGH DEFINITION
TOMOTO FILMS
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Voice by EL MATI
Music by CALDE RAMÍREZ
Dance by EDUARDO GUERRERO
Choreography by MATEO FEIJOO
Wherever you go, there is the sign that announces it. The FIT festival animates the city. The team works in the warehouses, preparing the ingredients for the haute cuisine dish that will be served warm. This dish has no previous script or narrative. Each agent involved knows his task, he is an ingredient. Large sacks of coarse salt and blankets are requested. Some come to work in tracksuits, comfort rules. The side stripes fashion is visible. Complex flamenco styles are sung and the environment is recorded, those who know the history of the place are recorded and the times are mapped. Entries, exits and spaces are ordered. Technicians adjust cables, hoses and bulbs. Banners are hung that will be screens as in the interwar parades. The ship is the scale. The scene will be compact, with a robust audience, in two tiles of two hundred very tight mobile chairs. The train of time demands a certain order, compactness, discomfort. You will not see it all. The lights are minimal and the sound is clear, crisp. There is an echo. The content of the film includes recurring elements of the upcoming. There are the present bodies, the colossal space, the motley city and the sea. One hour is woven in a week. The sensory chromatic is the base. The yellow of the buoy coincides with the yellow of the bar where you dance in Olympic balance, the blue of the sea is the wrapping of the bags of salt. The sword is the negative of black. The elements of the direct and the film are the very least. The gun is black, like the technicians' disguise. The sand of the long beach of the tombolo is adorned with the thorns of the local botany. The collage is adjusted so that the composition does not go towards tautology, but in the opposite direction. Every day, the adjustment, the resulting form, is a premiere, a repetition of movements that leads to the final form, which is not stable. Vibrate In each action, the salting is slightly different, the noise, the audience, the bodies and the overlaps qualify the main element, the flavor.
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QUALITATSKONTROLLE III CÁDIZ 2021
FESTIVAL IBEROAMERICANO DE TEATRO
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PROGRAMA
EL MATI * CALDE
LAS ACCIONES ESCÉNICAS SE SUCEDERÁN LOS DÍAS MIÉRCOLES 21 Y JUEVES 22 DE OCTUBRE DEL 2021 EN LAS ANTIGUAS NAVES CIGARRERAS DE CÁDIZ. LA APERTURA DE LOS MOVIMIENTOS SERÁ A LAS NUEVE DE LA TARDE. HABRÁ BAILE, CANTE, MÚSICA E IMAGEN TIEMPO. EL PROCESO DE CREACIÓN DE LA COMPOSICIÓN GLOBAL SE REALIZA IN SITU, MEDIANTE UN DIÁLOGO ENTRE LOS ARTISTAS INVITADOS. LA FORMA RESULTANTE ES UN COLLAGE SINESTÉSICO.
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PREVIAMENTE LAS ACCIONES QUALITATSKONTROLLE
SE DESARROLLARON EN FESTIVALES
EN AMSTERDAM Y BOGOTÁ
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EN AMBAS CIUDADES
SE GENERÓ UNA ESCENOGRAFÍA FÍLMICA ESPECÍFICA
DURANTE LA RESIDENCIA
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QK II BOGOTÁ 2018
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QK I AMSTERDAM 2016
SOCIOPLASTICS BY ANTO LLOVERAS
Monday, April 3, 2023
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